RESONATE Lisbon

MAAT Lisbon
February 12, 2018

A one-day conference organized by MAAT and reSITE aimed at an exclusive architecture, tech and art audience, focusing on architectural soundscapes, the technological innovation of sound environments, and the creation of ground-breaking acoustic experiences.

Testimonials

Unbelievable experience and such a vibrant discussion because of this dynamic and innovative mix of people that I have never met in any other conference.

— Miguel Álvarez-Fernández —

18 Speakers

320 + Guests

38% Architects

21% Curators + Designers

18% Acoustic + Sound Engineers, Musicians

14% Students

9% Media

Summary

Most tend to see and talk about architecture as a 3D discipline, focusing on its visual, spatial and functional aspects. But architecture is always experienced in 4D. Sound and acoustic aspects are crucial for people’s experience of public spaces and places that have always been at the core of reSITE’s interest.

MAAT Museum and reSITE brought world’s best creators of sound spaces and acoustic experiences to Lisbon, including 18 global leaders in designing sound spaces, sound engineers, design influencers and artists to rethink sound and space. This one-day international event was organized in collaboration with Meyer Sound and held in parallel to Bill Fontana's large scale Shadow Soundings live-streaming video and sound installation at MAAT.

Thank you for joining us in the journey through a gauntlet of what I believe to the best knowledge from around the world at the intersection of architecture, experiment, art and sound innovation.

Gallery

Memorable Quotes

"We will look back on sound as the public space element that plagued this era the way scent defined the Middle Ages"

“Architecture is a visual culture, perhaps because of media. We look at architecture through our eyes when it's actually a more tactile experience. We forget that sound is really fundamental for your comfort and experience"

— Pedro Gadanho, MAAT —

RESONATE In The News

Monocle

This week we focus on urbanism, architecture, acoustics and sound artists. We’re reporting from Resonate, a one-day conference in Lisbon by Resite, Maat and Meyer Sound that gathered an international crowd.

Kimmelman will lead us off with the first lecture at RESONATE, telling us that we don’t need to be specialists to distinguish different spaces based on the sounds they make, or the way we hear those sounds.

Elizabeth Diller will present the studio's longstanding engagement with architecture in sound, ranging from civic to cultural works. The projects include the transformation of the Lincoln Center for the Performing Arts and the High Line - two of the largest architecture and planning initiatives in New York City's recent history; the Museum of Image and Sound and the Shed on Copacabana Beach in Rio de Janeiro; and the Shed, the first multi-arts center designed to commission, produce and present all types of performing arts, visual arts, and popular culture.

“Diario sonoro de Belalcázar” [“Belalcázar Sound Journal”] is a 'phonographic essay,’ the result of the artist’s residency at La Fragua/The Forge Artist Residency (Belalcázar, in the province of Córdoba, Spain) in May 2013. The piece tries to capture some of the memories and reflections related to that experience. The artist wouldn’t refer to this as a ‘soundscape’ in the proper sense, as the recorded sounds are consistently manipulated and combined with synthetic materials. The artist will talk about the performance, the differences with more conventional soundscapes, and his process for making this and other pieces.

14:30Panel Discussion: Sound Art, Sound Architecture

In a discussion moderated by sound artist Miguel Álvarez-Fernández, the relationship between sound, space, and body will be explored by artist Bernhard Leitner. Leitner has been a pioneer in sound installation art and will speak about conceiving of sounds as architectural, or constructive material - allowing a space to emerge. Xavier Veilhan will virtually walk us into his sound space studio in the French Pavilion at La Biennale di Venezia (2017) where he hosted over one hundred musicians from various countries, who all came to think and play for art loving audiences in this recreated studio, which became a public space and experiential shrine built for sound.

Louis Becker has made a mark on cultural and performing arts centers in Europe and Asia. Harpa, Henning Larsen describes, serves as an icon for Iceland. The four auditoriums offer a highly varied music and cultural program, which places great demands on the acoustics and flexibility - all features that were handled with great tactility and understanding of user and performance needs. The lecture and discussion with Portuguese architect Joao Santa-Rita will focus on how to accommodate program and sound flexibility at Harpa, and similar projects with demanding acoustic needs.

The Research Centre in Science and Technology of the Arts (CITAR) of the School of the Arts - UCP, the Museum of Art Architecture and Technology (MAAT) and the Portuguese Audio Engineering Association (APEA) have selected marquee papers on the topic of “Electroacoustics, Art and Architecture” for presentation and discussion.
PRESENTATIONS:
Suse Ribeiro, Filipe Lopes
MODERATOR: André Perrotta

The Oslo Opera House is a study in architectural juxtaposition and surprise. The acoustic design of the concert hall attempts to strike a balance between reverberant orchestral sound while carrying a clear voice from opera singers; a balance that Snøhetta with Arup worked hard to provide.